Slowly working on some new Voronoi tracks, working with influences from 90s ambient, contemporary film and tv scores, drone and otherwise, for a live set and possibly a release later in the year. Here is some work in progress // Aperture.
i have a new Spotify playlist up - The Left Hand Path… Thanatological dramaturgy; dark ambience, drone, black metal, doom, electronica, and apocalyptic folk. Feat. Lustmord, Batushka, The Body, KTL, and Coil among others. (Link in image)
I finally updated my Ambient ∞ playlist again; ambient R&B and D&B, chopped 'n' screwed, dub, and some rave vibes, feat. Christoph De Babalon, Kelela, Rabit, Jay Glass Dubs & others. (Link in image)
I acknowledge the traditional custodians of the land, the Wangal people, in which this work was performed & would like to thank Deborah Lennis for her guidance regarding protocols for accessing and engaging with this site.
Video excerpt of a site-responsive 'soundscape' performance at Rodd Point, Iron Cove, Parramatta River as part of my ongoing Sound|Signal|Environment series. Processed field-recordings are played back into the environment in question intermingled with the field sound at the time of the performance to produce the final recording. In such a way, the recordist-composer becomes one actant among many which co-produce the ‘work’ as such.
First Recording Session
Morning cloud cover shrouds the bay (it reminds me of home). The seasons are starting to change now after a very mild autumn.
Rodd Point is situated in an inlet from the main channel of the Parramatta river, known as Iron Cove, which is framed by suburbs, mudflats & mangroves, a popular walking track and a highway.
It is low tide.
The boundary between Wangal & Cadigal country lies south along the Hawthorne Canal; one of the many tributaries of the Parramatta River that now operates as a stormwater channel.
The sound of traffic noise dominates, reflecting across the water from the A4 highway, interspersed with the cries of gulls & pied cormorants. I record a few open field ambiances with my condenser mics; the lapping of the water, hum of the highway, and intermittent calls of the bird life intermingling.
The occasional plane passes overhead; we are under one of the flight paths into Sydney airport. I fail to catch them in my recordings… next time.
As I am recording by the shoreline I notice a popping & crackling sound coming from the intertidal zone. I assume it is some kind of marine mollusk?
I record the popping sound with Andrew’s hydrophone; the crackles & pops of unidentified marine life, transduced through the distinct frequency range of a cheap piezoelectric device.
I take a closer look at the mangroves to the south-west of the point; there is a concentration of bird life there, fossicking around in the mudflats. The battery in my recording device duly runs out (drained by providing phantom power to the shotgun mic).
Get a battery for the shotgun mic for the next outing.
The 'collaborative fashion film' SALINE (directed by Tristan J. Brooks, with sound design by Millie Askew) that I contributed the sound design came out recently & Tristan and Millie were interviewed on the Aotearoa/New Zealand based fashion blog Lo & Behold, you can check out the interview here.